Louise Farrenc's Trio for Flute, Cello and Piano: a Critical Edition and Analysis Andreas P

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

LOUISE FARRENC’S TRIO FOR FLUTE, CELLO AND PIANO:

A CRITICAL EDITION AND ANALYSIS

ANDREAS P. TISCHHAUSER

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Fall Semester, 2005

The members of the Committee approve the treatise of

Andreas Tischhauser defended on 31 October 2005.

Jeff Keesecker Professor Directing Treatise

André Thomas Outside Committee Member

Patrick Meighan Committee Member

Evan Jones Committee Member

The Office of Graduate Studies has verified and approved the above named committee members.

ACKNOWLEDGEMENTS

I would like to offer special thanks to the following individuals who have made this project possible: Sylvia Glickman, President of Hildegard Publishing Company, whose idea of republication led to this project; Charles DeLaney for his patience, inspiration, and expert instruction; my wife Katherine for her support and expertise in analysis and string chamber music; and finally my dissertation chair, Jeff Keesecker for his time meticulously overseeing the composition of this document and all his hard work on the committee and the mundane administrative work I could not perform from my remote location in Colorado.

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TABLE OF CONTENTS

LIST OF FIGURES ...... v ABSTRACT ...... vii

I. BIOGRAPHY OF LOUISE FARRENC ...... 1

II. ANALYSIS AND BACKGROUND OF LOUISE FARRENC'S TRIO IN E MINOR FOR FLUTE (VIOLIN), CELLO AND PIANO, OP. 45 ...... 10

Background of the work ...... 10 Analysis of the first movement: Allegro deciso ...... 11 Analysis of the second movement: Andante ...... 27 Analysis of the third movement: Scherzo ...... 38 Analysis of the fourth movement: Finale: Presto ...... 46

III. CLOSING REMARKS ...... 57

APPENDIX A: SCORE OF TRIO IN E MINOR FOR FLUTE (VIOLIN), CELLO AND PIANO, OP. 45 ...... 60

First Movement: Allegro deciso...... 63 Second movement: Andante ...... 83 Third movement: Scherzo ...... 90 Fourth movement: Finale: Presto ...... 100

APPENDIX B: COPYRIGHT PERMISSION ...... 117

SELECTED BIBLIOGRAPHY ...... 119

BIOGRAPHICAL SKETCH ...... 125

LIST OF FIGURES

Figure 1. First Movement, First Theme, Antecedent Phrase ...... 12 Figure 2. First Movement, First Theme, Consequent Phrase ...... 13 Figure 3. First Movement, Second Theme, Phrase 1, Sub-Phrase 1 ...... 14 Figure 4. First Movement, Second Theme, Phrase 1, Sub-Phrase 2 ...... 15 Figure 5. First Movement, Second Theme, Phrase 1, Sub-Phrase 3 ...... 15 Figure 6. First Movement, Second Theme, Phrase 2 ...... 16 Figure 7. First Movement, Closing Section, Phrase 1, Sub-Phrase 1 ...... 18 Figure 8. First Movement, Closing Section, Phrase 1, Sub-Phrase 2 ...... 19 Figure 9. First Movement, Closing Section, Phrase 2 ...... 20 Figure 10. First Movement, Development, Opening Phrase ...... 21 Figure 11. First Movement, Recapitulation, Second Theme ...... 24 Figure 12. Analysis, Allegro deciso ...... 26 Figure 13. Second Movement, First Theme, Antecedent Phrase ...... 29 Figure 14. Second Movement, Secondary Theme ...... 29 Figure 15. Second Movement, First Theme, Variation 1 ...... 30 Figure 16. Second Movement, Transition from Variation 1 to Variation 2 ...... 31 Figure 17. Second Movement, First Theme, Variation 2 ...... 33 Figure 18. Second Movement, Secondary Theme, Variation ...... 34 Figure 19. Second Movement, First Theme, Variation 3 ...... 35 Figure 20. Analysis, Andante ...... 37 Figure 21. Third Movement, A Section, Antecedent and Consequent Phrases ...... 39 Figure 22. Third Movement, A Section, Phrase 3 ...... 40 Figure 23. Third Movement, A Section, Phrase 4 ...... 40 Figure 24. Third Movement, B Section, Dialog ...... 41 Figure 25. Third Movement, Transition to Trio and Trio Thematic Material ...... 42 Figure 26. Third Movement, Transition to Coda and Opening of Coda ...... 44 Figure 27. Analysis, Scherzo: vivace ...... 45 Figure 28. Fourth Movement, First Theme, Antecedent Phrase ...... 46 Figure 29. Fourth Movement, First Theme, Consequent Phrase ...... 47 Figure 30. Fourth Movement, Transition Material, First Phrase ...... 48 Figure 31. Fourth Movement, Second Theme, Antecedent Phrase ...... 49 Figure 32. Fourth Movement, Tutti Closing of Exposition ...... 50 Figure 33. Fourth Movement, Development, First Variant from Transition Material ...... 51 Figure 34. Fourth Movement, Descending Second Sequence ...... 52

v Figure 35. Fourth Movement, Recapitulation, Second Theme in E-major ...... 54 Figure 36. Analysis, Finale: presto ...... 56 Figure 37. Original Plates, m. 119...... 61 Figure 38. New Edition, m. 119 ...... 61 Figure 39. Missing Expressive Markings, Original Plates, mm. 21-24...... 61 Figure 40. Consistent Expressive Markings, New Edition, mm. 21-24...... 62

ABSTRACT

Many flutists believe that the romantic period saw a decline in music for their instrument. One purpose of this document is to republish Louise Farrenc’s Trio in E minor for Flute, Cello and Piano, Op. 45 in an attempt to add quality literature to the repertoire of nineteenth century flute music. In the most recent edition, the score has been reproduced more legibly, corrections have been made to inconsistencies harmonically, articulations and phrasing has been more idiomatically constructed, and the notation made more contemporary. Prior to the completion of this treatise, the composition has been republished with an introduction by the author of this document. Additionally, in recent years, there has been an increase in the interest of the music of female composers and with it, the work of the romantic composer Louise Farrenc. Accompanying the musical score is a biography and critical analysis that will bring familiarity to a composer whose works have fallen from popularity, perhaps not due to the quality of her work but from the gender discrimination that existed during her lifetime. The first chapter of the document includes comprehensive biographical, historical, and cultural information from historical sources. Also included is information pertinent to this performance document through research of the personal correspondence and criticism contemporary to Louise Farrenc. The second chapter is a comprehensive analysis of the work including musical examples. The third chapter is a retrospective view of Louise Farrenc and the significance of the republication. A critical edition of the score of the trio will be Appendix A. This document will serve as a source of information that the reader may use to become acquainted with Farrenc’s compositions and chamber music. It will also serve as an extensive compendium to the author’s introduction of the republished work and will vii assist research into other works of nineteenth century chamber music and the music of female composers of this era.

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CHAPTER 1

BIOGRAPHY OF LOUISE FARRENC

Louise Farrenc, born Jean-Louise Dumont in Paris, May 31, 1804, was descended from a long line of successful artists. Bea Friedland, in her article for Women Composers: Music Through the Ages, describes Farrenc’s exceptional artistic lineage as a “geneticist’s dream”1 that includes no less than six generations of successful artists. The Dumont family line consists of artists such as painters, sculptors, and engravers who worked directly with the royal family of France. Included as well are the musicians Louise and her daughter, Victorine, whose burgeoning career was cut short at an early age. Farrenc’s great-great-grandfather, Pierre Dumont (1660-1737), was a respected sculptor in Paris who moved in two opposing circles of artists. The first was the Académie de Saint Luc, the old established guild organization of craftsmen with its stringent and exclusive rules, in which he was an initiated member. The other was his association with the Académie royal de peinture et de sculpture. Charles le Brun, the official court painter, formed the latter organization following membership denial in the Académie de Saint Luc. Through the patronage of Cardinal Jules Mazarin (1602-1661) and by approval of the young Louis XIV, le Brun received authorization to establish the Académie royal de peinture et de sculpture in 1648. This new group was independent of the Académie de Saint Luc, setting the artists apart from the craftsmen. Unlike his sons who joined and enjoyed professional success with Académie royale de peinture et de

1 Bea Friedland, “Louise Farrenc,” Women Composers: Music through the Ages, Sylvia Glickman and Martha Furman Schleifer, eds. (New York: G. K. Hall and Company, 1999), 6: 1.

1 sculpture, Pierre never became a member of the new organization. His title of Sculpteur de la chapelle du roi, however, indicates very close ties to the court artists. 2 Although Pierre’s youngest son, Jacques Dumont (1701-1781), a painter and engraver, was only a distant relative of Farrenc, his artistic contribution to the family is without question. His work found favor with Denis Diderot (1713-1784) and a collection of his drawings can be found today in the Louvre. 3 The elder son, François Dumont (1687-1726), a court sculptor, was Farrenc’s great-grandfather. Friedland comments that Dumont’s marriage to a member of an equally distinguished family of artists may have added to the heritage of artistic excellence in the Dumont family. François Dumont’s wife, Anne François Coypel (d. 1755), was the daughter of esteemed painter Noel Coypel. M. Coypel was a painter prized by Louis the XIV and was married twice in his lifetime to talented women who were themselves from two other artistic families. The son from Coypel’s first marriage, Antoine (1661-1722), the most famous of the Coypels, was appointed Premier peintre du roi in 1715.4 Anne Coypel and her brother Noel- Nicolas (1690-1734), who also enjoyed relative success as a painter, were born to Noel’s second wife. The union of François Dumont and Anne Coypel produced eight children of which the only to survive to maturity was Edme Dumont (1720-1775). François died at the age of thirty-nine in a scaffolding accident in Lille while overseeing the installation of one of his completed works.5 After the death of his father, Edme was taken in by the artists of the Académie royal and apprenticed to the sculptor Bouchardon. In 1748, Louis XV agreed to the formation of the École des élèves protégés. This organization was formed to train young artists at the Louvre. Edme was one of the six artists who made up the first pensionnaires

2 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar, 3.

3 Friedland, 3.

4 Friedland, 4.

5 Friedland, 4.

2 when the school opened on 1 January 1749. His statue, Milon de Crotone, won him a position in the Académie royale in 1768 and is still on display in the Louvre. Edme died at the age of thirty-five, leaving behind a fourteen-year-old son named Jacques-Edme Dumont (1761-1844).6 Jacques-Edme was an accomplished sculptor and winner of many prestigious awards including the Prix de Rome in 1788. Two of his sculptures are on display in the Louvre. Despite his ability, Jacques-Edme is the only Dumont other than Pierre denied membership to the Académie royal, most likely because of his unpopular political views during this turbulent time in France. Jacques-Edme fathered three children: Auguste (1801-1884), a gifted artist and respected teacher; Louise (1804-1875); and Constance (1808-1893), a gifted amateur artist.7 Showing the artistic inclination of her predecessors, Louise began to display talent in the visual arts at an early age. Friedland points out that her talent for drawing and painting, in combination with her family background, would have led her away from music had it not been for the direction given by her music instructor. By the age of nine the precocious child was displaying professional ability at the piano, and with encouragement from her first teacher, Anne-Elisabeth Cécile Soria, Louise began to concentrate solely on music. Many historical accounts incorrectly state that her second piano instructor, the famous Ignaz Moscheles (1794-1859), was her first. 8 While he may have been her first teacher of international acclaim, this historical inaccuracy does not give proper significance to the instruction of her godmother, Mme Soria. After her tutelage with Moscheles, Farrenc studied with Johann Nepomuk Hummel (1778-1837). In addition to her pianistic ability, Louise exhibited a keen understanding of music theory. By the age of fifteen she was studying composition with Anton Reicha.

6 Friedland, 5.

7 Friedland, 6.

8 Diane Peacock Jezic, Women Composers: The Lost Tradition Found (New York: The Feminist Press, 1994), 121. 3 Though some accounts suggest that these lessons took place at the Paris Conservatory,9 there is no evidence of her enrollment there. More recent research indicates that these composition lessons were private, due to the exclusion of women in composition classes at the conservatory until about 1870.10 In most music schools of the nineteenth century women were technically allowed to take any courses offered, though in reality they were limited for most of the century to studying voice, piano, and harp.11 Concert events at the Sorbonne annex in Paris, where the Dumonts lived amidst many other artistic families, were frequent. From time to time the inhabitants at Sorbonne would include other musicians from outside the complex including a young flutist by the name of Aristide Farrenc (1794-1865). Louise met Aristide and subsequently performed with him at some of these soirees. The two were married in 1821 when Louise was seventeen years old.12 Although Farrenc was a flutist of moderate ability and an average composer, he was nonetheless successful in the music publishing industry. His business became quite well known in Paris and other major cities abroad. Although the marriage temporarily interrupted Louise's musical training she resumed studies with Reicha in 1825. Despite Louise’s apparent superiority in musical ability, contemporary commentary on their relationship indicates that her career “was not eclipsed by Aristide’s acknowledged eminence.”13 Based on Aristide’s professional

9 Bea Friedland, "Farrenc, Louise," The New Grove Dictionary of Music and Musicians, Stanley Sadie, ed. (London: MacMillan, 1980), 6: 408.

10 Christin Heitmann, “Louise Farrenc,” trans. Nicole-Denise Kadach, New Historical Anthology of Music by Women, James R. Briscoe, ed. (Bloomington: Indiana University Press, 2004), 170.

11 Nancy B. Reich, “Women as Musicians: A Question of Class,” Musicology and Difference: Gender and Sexuality in Music Scholarship, Ruth A. Solie, ed. (Berkeley: University of California Press, 1993), 135.

12 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar, 11-12.

13 Nicolas Slonimsky and Laura Kuhn, eds., Bakers Biographical Dictionary of Musicians, “Farrenc (Jeanne-) Louise (née Dumont)” (New York: Schirmer Books, 2000), 2: 1071. 4 support of Louise’s career, both performing and composing, it is evident that he did not recognize this supposed eminence. Throughout their life together they were each publicly supportive of the careers of the other and both contributed to supporting the family financially.14 During the period between 1825 and 1840, with the exception of two orchestral overtures (both unpublished), all of Louise Farrenc's compositions were piano pieces. These piano works were successful and received rave reviews from leading critics of the time. Unfortunately, due to nineteenth century views of female composers, Louise Farrenc did not enjoy the prestige due her. As proof of her ability and bias against her sex, one needs only to read Robert Schumann's article in the Neue Zeitschrift für Musik reviewing Farrenc's Air russe varié (Piano Variations). Schumann writes:

Were a young composer to submit to me variations such as these by L. Farrenc, I would praise him highly for the auspicious talent and fine training everywhere reflected in them. I soon learned the identity of the author - rather, authoress - the wife of the renowned music publisher in Paris, and I am distressed because it is hardly likely that she will ever hear of these encouraging lines. Small, neat, succinct studies they are, written perhaps still under the eye of her teacher, but so sure in outline, so logical in development - in a word, so finished - that one must fall under their charm, especially since a subtle aroma of romanticism hovers over them. As is well known, themes which lend themselves to imitation are most suited for variation and so the composer[ess] utilizes this for all kinds of delightful games. She even manages to carry off a fugue - with inversions, diminutions, and augmentation - and all this she handles with ease and songfulness. Only in the finale would I have wished the calm mood I expected after what had preceded it.15

These are indeed kind words from Schumann who, according to Arthur Elson in Woman’s Work in Music, originally did not believe the compositions to belong to Farrenc as they were of too high a quality for a woman to have composed.16 Schumann apparently

14 Heitmann, 170.

15 Robert Schumann, Neue Zeitschrift für Musik, vol. 5 (1836): 73, quoted in Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar (Michigan: UMI Research Press, 1980), 19.

5 tried to recognize Farrenc as a worthy musician regardless of gender, though the prevailing attitude of surprise that a woman could compose works of such quality is not lost in his review. This gender bias is further evidenced in other contemporary writings. In a review written by Berlioz when, after hearing one of her orchestral overtures, wrote the statement “it was orchestrated with a talent that is rare among women.”17 The renowned journalist and music critic Henry F. Chorley (1808-1872) describes Farrenc’s body of works to be “of some worth … according to the critics.”18 Whether Mr. Chorley actually heard a performance or composition of Farrenc remains in question, though his attitude toward women composers seems apparent. Miriam Gideon makes an excellent point in her preface to the second edition of Farrenc’s Trio in E Minor, Op. 45: “In spite of what may seem to us now to be a touch of male chauvinism, these comments are a genuine tribute to the talent and craftsmanship of the composer.”19 Although Louise enjoyed success as a performer, composer, and professor she was often relegated to the same role as most of the talented women of the nineteenth century. Often, despite showing prowess equal or superior to their male counterparts, women were marginalized in the profession. In her prestigious position at the conservatory, she was allowed to teach only female piano students. Women were generally excluded from the male dominated orchestras and ensembles and therefore were required to create their own venues and ensembles. Farrenc was no exception. Most of her recitals that were reviewed in the Parisian musical journals would have been heard at semi-private matinées and soirées, which were organized by Farrenc herself. The premiere of her Third Symphony, Op. 36, by the all-male conservatoire orchestra,

16 Arthur Elson, Woman’s Work in Music (Portland, Maine: Longwood Press, 1976), 182.

17 Slonimsky and Kuhn, 2: 1071.

18 Henry F. Chorley, Music and Manners in France and Germany, vol. 1 (New York: Da Capo, 1984), 11.

19 Louise Farrenc, Trio in E Minor Op. 45, with an introduction by Miriam Gideon (New York: Da Capo Press, 1979), v. 6 and the participation of the famous violinist Joseph Joachim, in the 1850 premier of her Nonet, Op. 38, nonetheless represent recognition of her remarkable abilities within the gender-biased culture of her time.20 The critic Maurice Bourges penned a more open- minded honor to Farrenc in his review in La revue et gazette musicale. Writing about her Thirty Etudes, Bourges states that the works will surely become a classic part of the piano repertoire, “not only to develop technique but also to form the taste.”21 His assessment proved correct as the Paris Conservatory adopted the etudes in 1845 as part of the mandatory curriculum for all piano students.22 The decade between 1840-1850 was a very productive time for Louise Farrenc. In addition to the great works of chamber music that she composed in this period, 23 She was appointed to the Paris Conservatory as Professor of Piano in 1842. Mme Farrenc was the only woman to hold such a prestigious position as an instrumental professor in the nineteenth century and held the position until her retirement in 1873. Accounts from the conservatory indicate that she was an excellent teacher and some of her students, including her own daughter Victorine, won the Premier Prix and enjoyed professional careers.24 Christin Heitmann writes in her article in New Historical Anthology of Music by Women that in addition to her value as a professor at the conservatory, she was sought after as a private instructor for composition. As a short departure from the chronology of Farrenc’s life, it seems odd that not one name, save her nephew Ernest Reyer, could be found to create a list of her composition students. While one does not desire to keep recounting the unfortunate

20 Heitmann, 170-171.

21 Bea Friedland, "Farrenc, Louise," The New Grove Dictionary of Music and Musicians, Stanley Sadie, ed. (London: MacMillan, 1980), 6: 408.

22 Friedland, 408.

23 These works include two piano quintets, four trios, three sonatas, six pieces for flute, two violin pieces, a cello sonata, a string quintet, and a nonet for wind and strings. Some of these works were written in the decade between 1850-1860 but the majority of the compositions were from the previous decade.

24 Heitmann, 171. 7 incidents of this gender discrimination, the author has entertained several assumptions regarding Farrenc’s tenure at the conservatory. First, it may be considered that, despite the success that Louise Farrenc enjoyed as a well-known composer and pianist, she was probably not frequently given the best students the conservatory had to offer. This theory is supported in Friedland’s book, where there is a quote by Farrenc herself regarding this issue. Regarding an incident between an incoming student’s mother and Farrenc, she writes to the assistant chair of the conservatory:

... I pray you urge the director to give me another pupil, because you realize that I absolutely must have one... Just as other professors are anxious to keep their pupils, so am I. It wouldn’t be anymore difficult to assign Mlle Marx to me than it was, last year, to grant admission to a weak applicant rejected by the committee and – as usual – given to me.25

Women were only allowed to teach female students but the more valued male teachers could instruct both sexes. Second, as Farrenc was a well-known composer of the time, it is perplexing that not one of her composition students, aside from her nephew, would mention her pedagogy. The most critical thought would be the quality of her instruction did not warrant the dedication. This hardly seems likely if one considers the success, not only of Farrenc herself, but also the esteem in which she was held as an instructor at the premier music school in the world. One might assume that perhaps her private composition students may not have been willing to admit to their studies with a woman. In 1859 Louise and Aristide suffered the loss of their only daughter, Victorine, a promising young pianist in the same mold as her mother, who died of tuberculosis at the age of thirty-two. Her productive career had been terminated long before her death as she had suffered terribly with the disease for twelve years.26 The musical community of Paris shared the grief with the parents stating in the introduction of the obituary from an article in La Revue et gazette musicale: “Musical art has just suffered a new loss. Mlle

25 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar, 76.

26 Aaron I. Cohen, “Farrenc, Victorine Louise,” International Encyclopedia of Women Composers (New York: R. R. Bowker Company, 1981), 154.

8 Victorine Farrenc died Monday January 3, in her thirty-third year; long beforehand, a cruel illness had already cut her off from the world…”27 Louise withdrew and for several years gave no public performances. The loss of her daughter was such a traumatic event that Farrenc composed no further works in her lifetime. Those pieces dated after the death of Victorine are believed to have been written prior to 1859 and merely published later. The decade of the 1860s marked two landmark events in the artistic culture of France involving Farrenc. Louise was awarded the Prix Chartier for chamber music in 1861 and again 1869. The Beaux-Arts Academy had been an excessively male dominated organization throughout the nineteenth century and an award of this caliber being bestowed upon a woman in this time period was unprecedented. This prestigious recognition equates Farrenc with other such winners as Edouard Lalo, César Frank, and Gabriel Fauré. It may be interesting to note that, prior to the French revolution, participation in arts organizations was egalitarian with favorable membership of women. The century following the revolution brought increased sexism including that against Madame Curie who, after winning two Nobel prizes in physics and chemistry, was denied membership to the Académie des Sciences.28 Early in this decade Louise began to emerge from her grief over her daughter's death and collaborated with her husband to complete Le trésor des pianistes, an historical anthology of piano works. This project was not merely a collection of works but also included, alongside the compositions, treatises on performance practice and other interesting information including the history of the construction of the piano. Only eight volumes of the anthology were completed during Aristide’s life. Mme Farrenc outlived her husband by ten years and, of the twenty-three volumes, she completed the last fifteen alone before her death in 1875.

27 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar, 48.

28 Friedland, 51-56. 9

CHAPTER TWO

ANALYSIS AND BACKGROUND OF LOUISE FARRENC'S

TRIO IN E MINOR FOR FLUTE (VIOLIN), CELLO AND PIANO, OP. 45

Background of the Work

The Trio in E minor for Flute (Violin), Cello and Piano, Op. 45 was published in 1862. Although occasionally believed to be written for Aristide Farrenc, the original published score bears the name of dedication to the first performer, Louis Dorus (1813- 1896).1 Dorus won first prize at the Paris Conservatory as a student in 1828 and was Professor of Flute at the Conservatory from 1860-1868. He is well known for his experiments with the "G#" key on the old style flute (pre-Boehm system) and then later imposing the use of the Boehm flute on his students (after which the use of the old flute declined rapidly).2 The premiere of the trio was in the home of Mme Pierson, née Sophie Bodin, in 1857 (five years prior to publication), who, as one of Mme Farrenc's former pupils, was the pianist at this performance. The cellist for the premiere was Charles Joseph Lebouc (b. December 22, 1822) a former student of August Franchomme at the Paris Conservatory. While Lebouc was known as a distinguished chamber musician and for a few compositions for the instrument, he may be more famous as the dedicatee of Saint Saëns’ “The Swan” from Carnival of the Animals.

1 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar, 147.

2 Claude Dorgeuille, The French Flute School 1860-1950, trans. Edward Blakeman (London: Tony Bingham, 1986), 14. 10 The Trio in E minor, Op. 45, is a four-movement work based on strict Classical forms with harmonic structure, asymmetrical phrases, and expansion of the Classic models, reminiscent of Beethoven. Douglass Seaton, in Ideas and Styles in the Western Music Tradition, presents the idea that the Classic and Romantic periods may be two separate phases of a larger style.3 Further, Seaton makes the comment that Beethoven is crucial in the transition of these two periods, or phases, having mastered the Classic style before exploring the potential of dramatic and emotional expression characteristic of the Romantic.4 In Farrenc’s Trio, Op. 45, one finds many stylistic features bearing the influence of Beethoven’s compositional style. The first example of expansion of Classic practices may be found in the number of movements of the Trio. One may compare the four movement trios of Farrenc, middle to late Beethoven, and even Mendelssohn to the more Classic three-movement model represented in the trios of Haydn, Mozart, and early Beethoven. The first of Beethoven’s trios composed in four movements is his Op. 70, written 1808,5 representing his middle period and departure from Classical restrictions.

Analysis of the first movement: Allegro deciso

The first movement, Allegro deciso, is in sonata allegro form. Farrenc distributes the lyrical melodies equally among the three instruments so no one voice monopolizes this movement. The work opens in E minor with an eight-bar introduction. This declamatory and fragmented beginning is in stark contrast to the lyrical theme. This type of opening is also found in Beethoven’s Piano Trio, Op. 70, no. 2, and the quartets Op. 59, nos. 2 and 3, Op. 74, and Op 127. Like Farrenc’s Trio, Op. 45, in each case, save

3 Douglass Seaton, Ideas and Styles in the Western Music Tradition, (Mountain View, California: Mayfield Publishing Company, 1991), 282-283.

4 Ibid.

5 Ludwig von Beethoven, Trios für Klavier, Violine und Violoncello, Band II, (München: Henle, 1983), 39-81. 11 Op.59, no. 2, the introduction separates itself from the first theme by means of contrasting melodic content and tempo juxtaposition. The first theme (Figure 1) begins in m. 9 with the cello and flute playing in octaves. The antecedent portion of the first theme appears as one might expect in a Classic form with a legato eight-bar melody in the tonic of E minor that closes with a half cadence. However, Farrenc quickly establishes a departure from the symmetry

Figure 1. First Movement, First Theme, Antecedent Phrase

indicative of the earlier style with an eleven-bar consequent phrase (Figure 2) ending with an authentic cadence in m. 28.

Figure 2. First Movement, First Theme, Consequent Phrase

The transition to the second theme ensues in m. 28 as the piano leaves the subordinate harmonic and rhythmic role to assume a melodic one with a light and fast scalar melody. From mm. 28-31 the piano presents this independent transitional music leading to the tonicized G major in m. 32. The flute and cello directly imitate the melodic material of the transition, each taking turns with the music from either hand of the keyboard. The increased musical energy apparent in the piano coupled with the leggiero marking in the other instruments is indicative of the unrelenting drive common in Beethoven’s writing.6 This material leads into m. 36 with an authentic cadence into D

6 Seaton, 285. 13 major, the dominant of the tonicized key of G major. In m. 36, the flute continues with a slight variation on the transition material while the piano plays a D pedal tone. The imitation continues in m. 39 as the keyboard mirrors the flute melody in the right hand. The left hand, however, continues the pedal tone though with a slight melodic presentation by alternating the D in three octaves from mm. 39-41. In m. 42 the right hand arpeggiates down while the left maintains the D pedal but with an added fifth, tonicizing G major in m. 46 with the continued dominant pedal. From mm. 46-52 the piano plays a more melodic motif, tonicizing G minor, in the right hand that is directly imitated one beat later. The cello repeats the melody again in m. 47 leading both parts to a final dominant cadence, truly modulating to the key of G major in m. 52, where the second theme begins. The challenge for performers is to maintain the underlying pulse while the mood is calmed leading into the lyrical second theme. The second theme of the exposition is more complex than the first. The initial phrase of the second theme consists of three sub-phrases (Figures 3-5). The first sub- phrase of the second theme (Figure 3) is played by the right hand of the piano from mm. 52-55. The flute answers the piano melody with the second sub-phrase (Figure 4) from mm. 56-59 while the cello plays a countermelody.

Figure 3. First Movement, Second Theme, Phrase 1, Sub-Phrase 1

Figure 4. First Movement, Second Theme, Phrase 1, Sub-Phrase 2

Beginning in m. 60, one can again see the use of overlapping imitation between the flute and cello as they play a contrapuntal melody that is the third sub-phrase (Figure 5).

Figure 5. First Movement, Second Theme, Phrase 1, Sub-Phrase 3

The downbeat of m. 66 marks the end of the first phrase of the second theme and the elision directly into the second phrase by means of a plagal cadence. This phrase (Figure 15 6) consists of four one-bar interjections, alternating between the flute and piano as well as creating modal mixture between G major (flute) and G minor (piano).

Figure 6. First Movement, Second Theme, Phrase 2

Farrenc’s use of the plagal cadence is prolific throughout the first movement of the trio and represents another method of variation of traditional harmonic practice. In the example above (Figure 6) Farrenc utilizes the plagal cadence to extend the tonicization of the home key of the second theme. This is not unusual unless one considers that the plagal cadence typically follows an authentic cadence, reaffirming the indicated key. Farrenc does not follow this formula but utilizes this cadence for more Romantic means. During the common-practice period the plagal cadence was most frequently utilized to extend the tonic. In the nineteenth century, due to an aversion of the leading tone, the plagal cadence was also used in place of continuous authentic cadences. 7 In Harmonic Function in Chromatic Music, Daniel Harrison states, “What makes the Plagal system of present interest is its role in late nineteenth century music, where it appears extensively in relief of an overexposed authentic system.”8 Without the

7 Laitz, Steven, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening (New York: Oxford University Press, 2003), 197.

16 strong sense of predetermined direction the tonal center is not as strongly identified allowing the composer to realize atypical resolutions and modulations. This speaks very accurately of the nineteenth century trends of straying from the basic rules of composition and more simple and predictable tonal centers. Deborah Stein elaborates this sentiment eloquently:

“In the later nineteenth century, the subdominant came to acquire new functions and assume more autonomous structural roles, and concurrently with the change in status and function of the subdominant came a reassessment of the dominant and even of the tonic functions. In this way, the development of the subdominant function was part of a larger nineteenth-century process of experimenting with and expanding upon aspects of the tonal system”9

In this example Farrenc does not drift too far from convention but the lack of an authentic cadence is strikingly evident. The third phrase of the second theme, like the first, consists of three individual sub-phrases. The first of these, beginning m. 70, is a harmonically enhanced, repetition of first phrase, again played by the piano. The second sub-phrase of this section, beginning m. 74, is an instrumental variation on the material in mm. 56-59. This time the piano plays the melody previously in the flute while the flute plays the countermelody that was the cellos. The final sub-phrase, mm. 78-85, utilizes imitation in several ways. First, there is overlapping imitation of thematic material between the piano and flute. Second and third, the final sub-phrase is a direct imitation of the mm. 60-66 except for the instrumental variation that mimics mm. 74-77. Finally, one may notice an additional three bar extension at the end of the final sub-phrase that leads, with an authentic cadence, to the closing section of the exposition. We can recall this exact scenario at the end of the first theme leading to the transition. Another interesting feature of the second

8 Daniel Harrison, Harmonic Function in Chromatic Music (Chicago: University of Chicago Press, 1994), 98.

9 Deborah J. Stein, “The Expansion of the Subdominant in the Late Nineteenth Century,” Journal of Music Theory 27, no. 2 (1983): 153.

17 theme is Farrenc’s use of a plagal cadence. This part of the work is quite charming if the performers are capable of emphasizing the imitative dialog between the three parts. The closing section begins with the cadential elision from the second theme in m. 85. The first phrase, mm. 85-99, is comprised of two sub-phrases (Figures 7 & 8).

Figure 7. First Movement, Closing Section, Phrase 1, Sub-Phrase 1

Figure 8. First Movement, Closing Section, Phrase 1, Sub-Phrase 2

The first six-bar sub-phrase opens in the key of G major with the piano rapidly ascending the scale while the tandem of the flute and cello fill in the harmonies. Through this passage the two groups, piano versus flute and cello, trade roles every measure while spelling out a six-bar chord progression. This progression of I – IV- ii- V – (implied) I – vi is as strong as the aggressive indications in the parts until m. 91 where Farrenc uses deceptive motion ending the progression with a dominant of Neapolitan. In the second sub-phrase, m. 91 to the downbeat of m. 99, Farrenc stabilizes the harmony but continues to build musical excitement through fervent part writing. The keyboard part is rapid and scalar, spelling the full harmony while the flute and cello play a robust melody in the top of their ranges. More stable than the progression found in mm. 85-91, this progression ends with an authentic cadence:

19 The second phrase of the closing section utilizes modal mixture as Farrenc oscillates between G major and G minor. Starting in m. 99 the fervent writing continues with all three parts playing in ranges spanning five octaves. The thematic material of the second phrase (Figure 9) foreshadows the development.

Figure 9. First Movement, Closing Section, Phrase 2

While describing the difficulties of this work, Bea Friedland comments how the extremely high writing in the flute part at moments such as this may jeopardize the tonal balance of the ensemble.10 Friedland further remarks how skillful the flutists of the nineteenth century must have been as not one critical statement of this problem is on record in regard to this composition.11 Perhaps Friedland underestimates the compositional abilities of Farrenc considering the heavier timbre of the other two instruments will more than adequately balance the exuberance of the flute in the third octave. Contemporary performers of this piece may find some dangers to ensemble tuning due to the register differences of the instruments, but should experience minimal issues regarding tonal and technical difficulties. This eight-bar section, mm. 99-106, closes with a plagal cadence in m. 105 with an abrupt shift to E minor in m. 107. This

10 Friedland, 150.

11 Friedland, 150. 20 downbeat of m. 107, the first measure of the first ending, is a retransition to the home key and the repeat of the exposition. In the second ending, starting in m. 114, the G major chord established in m. 105 makes an abrupt shift to the dominant of A major on the downbeat. As is typical in nineteenth century sonata form developments, there is a rapid shift of tonal areas. Bea Friedland remarks on this, specifically referring to the Trio, Op. 45:

What does emerge is the evidence of Mme Farrenc’s firmer control of harmonic details in the service of a long-range tonal plan. At times, in the earlier chamber music, her wayward progressions and chains of distant modulations seem mannered, extraneous. In the latter works this penchant for shifting harmonic colors transcends mannerism and becomes incorporated into an authoritative personal style.12

The comparison may again be drawn to Beethoven in the evolution of the compositional styles moving from Classic to Romantic. The development begins in m. 116 tonicizing the key of A major with the same thematic material that was used in mm. 99-106 that was the closing of the exposition (Figure 10).

Figure 10. First Movement, Development, Opening Phrase

12 Friedland, 147. 21 Where the closing theme creates a defined tonal area prior to the first and second endings, this material from m. 106 forward, derived from the closing theme, also creates a similar tonal area in the development. In m. 124 one hears a brief tonicization of B-flat major mirroring the second ending of the exposition (mm. 114 and 115). Once again, the thematic material of mm. 99 and 116 is used starting in m. 126 again with a plagal cadence. Measures 126-129 restate the previous thematic material. In mm. 130-135 the second phrase of the closing theme is restated as it was in the exposition, but with slight alterations in mm. 130 and 131. Here the piano and flute trade thematic material. Again, there is a plagal cadence in m. 132 leading to an abrupt shift of tonal center to B minor in m. 134. Farrenc does not continue the cycle in m. 136. Rather, she extends the harmonic structure for the next four bars with a motivic derivative of the material from the previous section. While the harmonic structure is quite stable in mm. 136-139, Farrenc adds an interesting aural effect. The progression leading into m. 140 is standard and authentic. However, rather than ending the cadence in B minor, Farrenc makes another abrupt shift to the tonality of B major by using a Picardy third. Although the preceding dominant chord is common to both tonalities, the change is somewhat surprising to the ear. One might notice the chromatic nature in the change of tonal centers from A major, to B-flat major, to B minor, and finally to B major. The author is again reminded of Beethoven when comparing the tonal centers in the development of the first movement of his Piano Trio, Op. 97 to those of Farrenc. At m. 140 there is a series of three eight-bar restatements of the first two sub- phrases of the second theme (the original statement is mm. 52-59). The piano presents the first restatement in the key of B major and ends in m. 147 with a plagal cadence. An abrupt key change to G major takes place in m. 148 as the cello plays this melody in its entirety. Again, the theme ends with a plagal cadence in m. 155. Continuing this modulatory harmonic pattern, the flute plays this theme with an abrupt key change to E- flat major beginning in m. 156. Unlike the piano and cello, the flute does not play the eight-bar theme uninterrupted. In m. 163 the flute’s second theme melody elides with motivic material of the exposition’s closing theme. True to form of a development, the

22 tonal center wanders until an authentic cadence briefly tonicizes the key of A minor in m. 171. The piano continues the use of the motivic material from the closing of the exposition while the flute borrows material from the second phrase of the second theme. All instruments again wander through multiple tonal centers before arriving at the dominant preparation in m. 181. Here, the piano begins the retransition, a fevered eleven-bar scalar passage, firmly establishing the dominant of the home key of E minor. Adding undeniable reinforcement to the tonal center, the cello sustains a pedal tone of b from mm. 181-184 while the flute outlines the harmonic structure. In a reverse terraced effect the piano drops out in m. 191 leaving the cello with a quieting motivic melody outlining the key. The flute takes over the melody in m. 193 and leads, in cadenza type fashion, to the recapitulation in m. 199. The author has found this to be one of the more difficult areas in performing the trio. The stark change of energy and sheer volume may take its toll on the underlying energy moving toward the end of the movement. Performers must be cognizant of the section that follows so the musical motion does not relax to a boring pace. Like the opening of the movement, the recapitultation’s first theme is presented by the flute and cello in octaves. However, in the recapitulation the piano adds full block chords underneath the melody before assuming its original role in m. 203. The first theme is intact melodically and harmonically in the recapitulation. As expected, the transition section, beginning in m. 218, is melodically similar to its first statement but is altered harmonically. While most of this transitional material is taken from the original statement, mm. 28-51, mm. 226-231 presents an alteration of material from the development. The transition, mm. 218-241, though unsettled harmonically, follows traditional Classic rules by maintaining the home key of E minor. Farrenc closes the transition in the recapitulation with a half cadence but, in m. 242, abruptly changes the key of the second theme to E Major (Figure 11); a distinct departure from the Classic tradition. With the exception of key, the recapitulation of the second theme is basically intact based on the original statement in m. 52.

Figure 11. First Movement, Recapitulation, Second Theme

From mm. 289-301, Farrenc expands the recapitulation by incorporating a restatement of the closing material from the exposition. In the recapitulation this material appears in the key of E major, the parallel major of the home key. It is not until m. 301 that the coda truly begins and Farrenc reestablishes the home key of E minor. Here the piano makes an aggressive push to the end while the cello and flute restate the octave melody of the first theme. The piano writing is very animated and is quite capable of overpowering the two other instruments in the final measures of the movement. While one would hesitate to curtail a pianist’s enthusiasm in the closing moments, a careful balance should be drawn between pianistic exuberance and intonation problems in the cello and flute from overplaying. Many times the author has heard the final chords suffer

24 from a small wind instrument trying to match the volume of the large block chords in the keyboard. The following (Figure 12) is a one-page diagram of the analysis of the first movement:

25 Overall Form: Sonata (with Introduction and Coda)

Introduction a(1-8) e: hc

Exposition First Theme Transition b(9-16) c(17-28) d(28-32) d1(32-36) e(36-45) f(46-51) e: hc ac ac G: hc hc g: hc dominant pedal(D)------

Second Theme g(52-66) h(66-70) g1(70-85) G: pc G/g: ac G: ac

Closing 1st ending 2nd ending h1(85-99) i(99-106) (107-113) (114-115) ac G/g: pc e: ac d:

Development i1(116-125) i2(126-135) j(136-140) g2(140-143) g3(144-147) g4(148-151) A: pc B-flat: pc b: ac/B: ac pc G: ac

Retransition g5(152-155) g6(156-159) g7(160-163) k(163-171) l(171-181) m(181-189) pc E-flat: ac dc mod to a: ac mod to B: dominant ac n(189-199) dominant preparation

Recapitulation First Theme Transition b(199-206) c(207-218) d2(218-222) d3(222-226) s(226-231) e1(231-241) e: hc ac dc hc e: hc hc

Second Theme Closing g8(242-256) h2(256-260) g9(260-275) h3(275-281) i1(281-289) i2(289-301) E: pc E/e: ac E: ac dc ac E/e: ac

Coda b2(301-308) d4(308-312) l1(308-321) e: ac ac ac

Figure 12. Analysis, Allegro deciso

26 Analysis of the second movement: Andante

The second movement, Andante, is in a modified strophic form. Throughout the entire trio Farrenc shows the elegant manner in which she uses Classic forms in a Romantic style and this movement is no exception. While the movement may initially appear a Classic theme and variations, some considerations will indicate a Romantic vocal style. In her book Louise Farrenc, compositrice du XIXe siècle, Musique au feminin, Catherine Legras describes the second movement as a Lied.13 While the author of this document disagrees with Legras about the form of the movement, particularly because Lied is not a form nor does the Andante contain text, which would be essential to the genre. However, there are features that may support a vocal influence. Although most accounts of Farrenc’s musical style indicate her indifference to the current musical trends in Europe, she was undoubtedly exposed to the multitude of Lieder so popular in this period. It is not out of the question that Farrenc, who wrote instrumental music exclusively, would have integrated the vocal style into some of her instrumental compositions.14 Comparing this to a vocal model, one may notice that unlike the other movements of the trio, where the distribution of melodic work is equal between the parts, the flute serves as the solo instrument almost exclusively in this movement. While it may be argued that the subordinate role of the piano is not indicative of the Romantic Lied, the author finds that two issues must be considered. First, not all piano excerpts from the most highly valued Lieder are as melodically interesting as the vocal line. The Lieder of Schubert present piano parts with a more supportive role than

13 Catherine Legras, Louise Farrenc, compositrice du XIXe siècle, Musique au feminin (Paris: L’Harmattan, 2003), 134.

14 The New Grove’s Dictionary of Music indicates that she wrote “few vocal works and none were published” but investigation has not led to their discovery. Two authors, Bea Friedland and Catherine Legras, whose books deal exclusively with the life and music of Farrenc, do not contain any indication of vocal compositions. 27 melodic. However, in almost all cases the keyboard structure was programmatically representative of some textual feature. This is not the case in the Farrenc movement. The second thought is that perhaps Farrenc’s penchant for Classic ideals are present in the keyboard part of a Classical Lied-inspired composition. Upon inspection of a collection of Mozart Lieder, fortepiano parts that resemble the keyboard part of Farrenc’s second movement were evident. This not only helps substantiate Legras’ theory but also Farrenc’s preference of traditional forms and the influence of the great Classic composers. The most compelling argument in support of Legras’ analysis may be the form of the movement. While a theme and variations is common in instrumental compositions, the presence of a second theme in Farrenc’s Andante weakens the validity of this theory. Recalling the vocal model, the construction of this movement fits neatly into modified strophic. In A History of Western Music this vocal form is described: “Contrast or change is often depicted with modified strophic, in which music repeats for some strophes but others may vary it or use new music.”15 If Legras was indeed comparing this movement to a vocal form rather than a particular genre, it may be peculiar that a French writer, analyzing the work of a French composer, would chose a specifically German title of a distinctively German style. Choosing the term Melodie would seem to make more nationalistic sense. In addition, the piano parts in French Melodie are slightly less Romantically programmatic than their German counterparts, presenting a more accurate parallel to the accompanimental writing in Farrenc’s Andante. The movement opens in C major with a sixteen-bar strophe divided into two equal phrases. The flute plays the initial presentation of the first theme while the piano accompanies with legato, arpeggiated Figures. This first phrase, mm. 1-8, is very basic harmonically and represents the antecedent portion of the first theme (Figure 13).

15 J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca, A History of Western Music, 7th ed. (New York: W.W. Norton, 2006), 608.

Figure 13. Second Movement, First Theme, Antecedent Phrase

After a half cadence into m. 9 the consequent phrase of the first theme ends in m. 16 with an authentic cadence. At this point Farrenc presents a secondary theme for the next strophe. Beginning in m. 17, the cello and flute play an eight-measure canonic transition into the second theme. This transition is accompanied by block chords in the piano spelling the harmonic progression to an abrupt key change to E-flat major introducing the new theme in m. 25 (Figure 14).

Figure 14. Second Movement, Secondary Theme

Again, the flute plays the melody while the cello and piano support the new theme harmonically. After modulating back to C major in m. 29, there is a half cadence in m.

29 32 where the flute plays a short cadenza transitioning to the first variation of the first theme in m. 36. With reference to a vocal model, this would be the third strophe. As in the opening of the movement, the melody is in the flute and the harmonic structure is intact (Figure 15).

Figure 15. Second Movement, First Theme, Variation 1

The piano is now, however, supporting the melody with sustained block chords rather than the arpeggiated patterns of the beginning of the movement. The cello also adds to the variation with a scalar countermelody, reminiscent of the piano’s opening material of eighth-notes, which not only reinforce the harmonies but add additional melodic support as well. The harmonic structure reflects the original statement and only the texture has been changed. Identical to the opening of the movement, a half cadence leads to the antecedent phrase where the variation is more clearly audible. In the consequent phrase of the first variation, mm. 44-51, the roles of the flute and cello are reversed with the cello playing the lead and the flute playing the countermelody. Farrenc writes a clever eight-bar duo between these two instruments as the harmony and rhythm are maintained while the voices play their lines in almost complete contrary motion. From mm. 44-47, the piano right hand joins in thirds with the flute part before returning to a purely harmonic function in mm. 48-51. The variation closes with an authentic cadence that makes an abrupt modulation to the key of C minor in m. 52.

30 The following twenty-six measures features an aggressive sequence using fragments of the first theme. The primary material is written for piano with infrequent doubling by the other instruments (Figure 16).

Figure 16. Second Movement, Transition from First Theme, Variation 1 to Variation 2

The final four measures of this section reestablish C major and lead into the second variation of the first theme. Assuming then, that the section from mm. 52-79 is indeed a lengthy transition, the influence of Beethoven may once again be seen in the motivic construction of the transition material. Farrenc borrows the dotted rhythmic figure from the first bar of the main theme to construct this passage and uses it continuously through m. 74. The C minor key is maintained until m. 57 where it modulates to E-flat major before an authentic cadence in m. 60. The right hand of the piano continues the dotted theme while the left hand and flute parts trade fragments of the dotted motif. The cello plays a sixteenth-note passage that appears to be a measured trill outlining the root of the chord structure. From mm. 60-65 there is a sequence of descending thirds implying a modulation back to C minor before avoiding the key with a half cadence in m. 67. The piano restates the dotted theme in m. 68 beginning a sequence of descending seconds that firmly establish the return to C minor in m. 75. Measures 75-78 extend the resolution of the cadence with the cello and piano trading sixteenth-note figures emphasizing C, E-flat and G of the C-minor key.

31 Referring back to Legras’ theory, one may notice that this is the only part of the movement where the flute is not playing some form of the lyrical melody. The flute should not be considered supportive in this segment, however. Of the twenty-eight measures of material in this transition, the flute plays only in eight measures and does present a fragmented segment of the dotted theme. It is also interesting to notice the character of the flute in this movement. As is indicative of vocal style in Romantic Lieder, Farrenc writes only lyrical material for the flute. The section from mm. 52-79 is indicated to be loud and aggressive with the exception of the flute entrance where all parts are marked pianissimo. In m. 79, after an ascent up the scale in m. 78, the piano abruptly changes back to the original C major with the first theme in the right hand and the original arpeggiated accompaniment in the left. Against the piano melody the flute plays an elegant triplet eighth-note countermelody; this is the second variation of the first theme and the fourth strophe (Figure 17).

Figure 17. Second Movement, First Theme, Variation 2

The cello joins in the consequent phrase harmonizing the melody in the piano. The flute and piano play through the antecedent phrase ending with a half cadence in m. 86. The cello then joins the duo for the consequent phrase in m. 87 adding a harmonic derivative of the main theme. The transitional material that appears in m. 95, although melodically different, follows exactly the same harmonic progression of the original transitional material in mm. 17-24. The melodic material of this transition, played by the piano, is drawn from the rhythmic pattern of the flute countermelody in variation two of the first theme. Against the flowing triplets of the piano, the flute and cello play long and sustained notes of the harmonic progression. With a half cadence at m. 102 tonicizing E-flat major, the cello presents the first, and only, variation of the second theme and the fifth strophe (Figure 18).

Figure 18. Second Movement, Secondary Theme, Variation 1

The harmonic structure is identical to mm. 25-32 as is the piano part with the only exception being rhythmic. Originally the harmonic foundation in the piano was in duple meter. Here, the piano maintains the triplet motion established in the transition. The flute enters at m. 110 to play the short cadenza (original material in mm. 32-35) leading into m. 114. To this Farrenc adds the piano in thirds with the flute for this four-bar transition to the final variation of the first theme. For the sixth and final strophe, the flute again plays the first theme accompanied by sustained block chords in the piano while the cello presents a new countermelody rhythmically similar to the theme. Forces are joined in the consequent phrase, m. 122, as the flute and cello play in octaves. The climax of the phrase is reached in m. 124 with the flute and cello playing in the highest range of the movement while the piano, maintaining

34 the forward motion with the dotted rhythm motif, plays almost five octaves below the flute creating a full and open texture (Figure 19).

Figure 19. Second Movement, First Theme, Variation 3

In contrast to all other forms of the first theme, the third variation ends in a half cadence, stopping on a G chord (dominant). After a fermata, the piano begins the coda, m. 128, with a C pedal tone that is maintained until the end of the movement. In m. 129 the flute plays the first four bars of the first theme’s antecedent phrase. The piano supports the melody with block chords over the pedal point until it presents, after an authentic cadence in m. 132, a two-bar excerpt of the first theme in m. 133. Each instrument plays the theme in turn from low to high in a contrapuntal fashion separated by one bar. The piano finishes the excerpt first in m. 134 with soft chords in C major to the end. The cello, finishing one bar later in m. 135, sustains a high E natural while the flute closes the cycle in m. 136, sustaining an E two octaves above the cello through m. 137, resolving down to a C quarter-note to finish the movement. Aside from the association of this movement to Lieder, Legras also describes the form as ternary. Perhaps the argument could be made that it is ternary with variations on the themes. The sections from mm. 1-51 and mm. 79-127 are structurally and harmonically identical. For this reason Legras’ idea of ternary form may make sense. However, throughout the trio Farrenc exhibits an appreciation for Classic forms with a

35 flair for the Romantic. Also, the presence of a variation each time a theme returns cannot be ignored. The following (Figure 20) is a one-page diagram of the analysis of the second movement:

36 Overall Form: Modified Strophic

Theme 1 Bridge Theme 2 Transition a(1-8) a1(9-16) b(17-24) c(25-32) [32-35] C: hc ac hc E-flat: hc

Theme 1(Variation 1) a2(36-43) a3(44-51) d(52-59) e(60-67) d1(68-79) C: hc ac c/E-flat:ac E-flat/c: hc ac Descending 3rd sequence

Theme 1 (Variation 2) Bridge Theme 2 (Variation 1) a4(79-86) a5(87-94) b1(95-102) c1(103-110) [110-113] C: hc ac hc E-flat: hc

Theme 1 (Variation 3) a6(114-121) a7(122-127) C: hc hc

Coda a8(128-138) ac

Figure 20. Analysis, Andante

37 Analysis of the third movement: Scherzo, vivace

Again departing from the standard Classic form of the chamber sonata, Farrenc substitutes a fast scherzo for the traditional minuet.16 One may draw additional parallel of Farrenc’s trio to the compositions of Haydn and later Beethoven who frequently substituted the more spirited scherzo for the minuet.17 One set of examples with specific relevance to this trio are the Beethoven quartets, Op. 18, numbers 1, 2, 4, 6 and the quartet, Op. 74. In each case the minuet has been replaced with a scherzo with the exception of Op. 18, number 4, where a scherzo has been added in addition to a minuet. Further similarities may be drawn when one considers the use of hemiola in the scherzos of the quartets Op. 18, number 6 and Op. 74 to the scherzo of this trio. Farrenc’s Scherzo is composed in compound ternary form and centers around the composition’s home key of E minor. In contrast to the second movement, the Scherzo is in a fast and aggressive 3/8. The A section, mm. 1-20, is comprised of four sub-phrases. In mm. 1-4 the piano plays the first sub-phrase, a marked rhythmic melody that leads to the second sub-phrase in the flute part from mm. 5-8. The flute plays a descending scalar melody against staccato eighth-notes in the piano and cello through m. 8 (Figure 21).

16 Seaton, 285.

17 Laitz, 543. 38

Figure 21. Third Movement, A Section, First and Second Sub-Phrases

The first sub-phrase carries the tonic E minor through m. 4 while the second sub- phrase in the flute part uses only a dominant seventh. This would traditionally indicate a complete phrase, assuming the second sub-phrase ends with an authentic cadence. However, the cadence is extended for eleven more bars as the flute plays a six-bar hemiola pattern, sub-phrase three (Figure 22), juxtaposed to the stable 3/8 rhythm in the piano. The piano answers this increase in momentum with an arpeggiated flourish in mm. 15-20, sub-phrase four (Figure 23), which completes the statement with an authentic cadence.

Figure 22. Third Movement, A Section, Sub-Phrase 3

Figure 23. Third Movement, A Section, Sub-Phrase 4

The B section of the Scherzo section begins in m. 21 with a sixteenth-note dialogue between the flute and piano (Figure 24); the cello outlines the chords in eighth- notes.

Figure 24. Third Movement, B Section, Dialog

The harmonic progression of this section from mm. 21-34 is an ascending second sequence moving through the tonicization of G major, A minor, B major, and finally C major in m. 33. While the cello and piano are firmly stating C major in m. 33, the flute begins a scalar run that leads back to E minor in m. 35. The piano takes over the running melody in m. 37 but, unlike in the legato flute passage, Farrenc creates a leap on the fourth sixteenth-note of each bar creating syncopated accents. In juxtaposition to the staccato eighth-notes in the flute part, there is a rhythmic feeling of two against three in mm. 37-44. This duo between the flute and piano lasts only eight bars, but the established rhythmic feel is maintained until the end of this section in m. 65. Throughout the passage the cello and flute, after m. 44, play sustained lines against the running notes of the piano. At the height of a long crescendo, the section ends with a half cadence in m. 65. In m. 65, Farrenc begins a 12 measure retransition leading to A’ in m. 77. This transition is realized through a series of solo cadenzas among the three instruments. Once again the performers must be cautious to maintain the tempo and forward motion during their solo passages. The reappearance of the A material is shorter in A’ than the original and quite different in harmonic structure. The piano starts with four bars of the tonic E minor but leads to a Neapolitan-sixth tonality at the flute entrance in m. 81. The brief restatement ends with an authentic cadence into m. 89 before repeating to m. 21 after the first ending in m. 90.

41 Moving to the second ending in m. 91, the piano plays E-minor chords in a quarter eighth, quarter eighth pattern that sets the rhythmic feel for the sostenuto C section in m. 94 (Figure 25).

Figure 25. Third Movement, Transition to Trio and Trio Thematic Material

Farrenc further marks the introduction of this trio section with an abrupt modal shift from E minor to E major. The theme of the new section is a lyrical melody presented by the cello while the piano supplies legato harmonic support for the sixteen-bar passage. Although the tempo and forward motion of the movement has not been altered, the mood is much more subdued. With continued momentum, the first theme elides to the next phrase in m. 110. The second phrase of the trio, mm. 110-125, is a repeat of the previous cello melody. In this case, the flute plays the theme while the cello plays a 42 countermelody constructed from material from the piano part in mm. 94-109. Through the reprise, the piano supports the harmonic progression in block chords. The phrase ends with a half cadence leading to a set of chords in the piano, similar in function to the chords of mm. 92-93, transitioning to the next section. The second phrase material of the trio begins in m. 128 with another abrupt modulation to G major. The melodic material is traded back and forth between the tandem of the cello and flute against the piano. The earlier portion of the phrase is clearly in G major, but the key begins to wander later in the phrase starting in m. 136. Here, the tonal center becomes unclear until the B-major chord in m. 144. At this point the dominant preparation of B is evident, and, with an authentic cadence in m. 151, E major is established for the return of the trio’s main theme. The return of the first phrase is melodically and harmonically intact as it appeared in m. 110 with the flute-dominated melody, including the transitional chords in the piano part. The final six measures of this return utilize the material found in mm. 130-136; this restatement is the first ending. The four-bar second ending, beginning m. 172, leads to the return of the A section in m. 176. The section from mm. 128–152 presents new melodic and harmonic material. The new thematic material closes with an authentic cadence in m. 152 eliding with the return of the trio’s lyric melody. With full closure of the authentic cadence one might identify the entire trio section as an internal ternary form within the binary movement. However, due to the fact that D and C1 sections repeat together this is actually an internal rounded binary making the entire movement a compound rounded binary. The return of the A section in m. 176 is completely intact from the original opening. The same is true for the B section and recapitulation of A within the Scherzo section. All the cadences, sequences and progressions are identical as is the distribution of material throughout the parts. Farrenc’s only alteration is the omission of the repeat. In m. 266 one finds identical transitional chords from the Scherzo’s second ending in mm. 91-93. At this point in the score these transitional chords lead to the coda. Farrenc uses the material from the opening of the trio to construct the first seventeen measures of the coda (Figure 26).

Figure 26. Third Movement, Transition to Coda and Opening of Coda

From mm. 269-284 the excerpt is intact as it appeared in m. 94. As the flute enters in m. 285 the material is slightly altered from the original in m. 110 and the piano plays a soft derivative of the Scherzo theme underneath. The altered material extends the authentic cadence in E major to m. 319 where, after an empty measure, the movement then ends with an explosive three-bar cadential statement of the Scherzo theme in E major. The following (Figure 27) is a one-page diagram of the analysis of the third movement:

44 Overall form: Compound Rounded Binary A-Scherzo B-Trio A1-Scherzo plus Coda

Scherzo (Rounded Binary) A a(1-20) e: ac

B b(21-34) c(35-65) d(65-77) G/a/B/C: ac e: hc ac

A1 a1(77-91) [92-93] e: ac connecting chords

Trio (Rounded Binary) C e(94-110) e1(110-127) E: ac hc

D f(128-152) G/E: ac

C1 e2(152-169) [152-175 with 2nd ending, last two bars connecting chords] E: ac ac

Scherzo (Ternary) A a(176-196) e: ac

B b(196-209) c(219-240) d(240-252) G/a/B/C: ac e: hc ac

A1 CODA a1(252-265) [267-268] e(269-285) e2(285-319) [320] a1(321-323) e: ac connecting E: ac ac G.P. ac

Figure 27. Analysis, Scherzo: vivace

45 Analysis of the fourth movement: Finale, presto

The trio concludes with a fourth movement Finale. Though marked presto, the movement does not have the same virtuosic pace of the Scherzo due to the fact that the smallest rhythmic value is an eighth-note. The final movement is in sonata form and follows similar harmonic divergences from standard Classic construction as the first movement. The movement opens in the key of E minor, the home key of both the first and fourth movements. In regard to formal construction, the first noticeable difference between movements one and four is the introduction. While the first movement has an obvious lead-in, the fourth movement begins directly with the first theme. The eight-measure antecedent phrase of the first theme is presented in the flute part with a continuous eighth-note melody while the piano provides harmonic support in quarter-note increments (Figure 28).

Figure 28. Fourth Movement, First Theme, Antecedent Phrase

The perpetual motion of this figure is evident throughout the movement, including sections where the figure is not predominant. It is interesting to notice that out of 559 measures, if we exclude the eleven bars of concluding chords and the two empty measures, there are only eight measures that do not contain moving eighth-notes. In every case the break in the motion occurs at an authentic cadence.

46 The first phrase ends in m. 8 with a half cadence into m. 9. The flute continues seamlessly into the consequent phrase concluding with an authentic cadence in m. 16. The author assumes the first two phrases create a significant musical statement as the final tonic chord ends with a quarter-note value in both the piano and flute parts (Figure 29). This is an example of one of eight measures in the entire movement where the eighth-note motion rests.

Figure 29. Fourth Movement, First Theme, Consequent Phrase

The piano continues with a third phrase, expanding the thematic material and resuming the eighth-note motion in m. 17. The cello enters at this point outlining the harmony with legato quarter-notes. In m. 21 the flute joins the cello creating suspensions between the two instruments. The phrase ends with an authentic cadence into m. 24 and modulates by common tone to D major in m. 25. The piano repeats the previous phrase in the new key with the original phrase introduction (m. 17) presented by the cello. After a one-measure hiatus in m. 25, the piano returns to the thematic material while the cello resumes its former harmonic duties. The phrase ends in m. 33 with an authentic cadence. In m. 34 there is an abrupt modulation to B minor as the piano continues the eighth-note pattern into the fourth phrase of the theme; the cello enters for harmonic support in m. 37. Similar to the third phrase, the piano repeats the previous material in m. 41 but, in this four-measure phrase, maintains the B-minor tonality without melodic assistance from the cello. The flute joins in m. 42 and the cello in m. 45 for harmonic

47 support. The harmonic counterpoint between the two instruments creates interesting suspensions and syncopations. The expanded fourth phrase ends with an extended authentic cadence in mm. 56-60. The trained listener will clearly hear the downbeat of m. 61 as a new section. Farrenc does not, however, let the eighth-note motion rest as she did in m. 16. Rather, the piano continues with an uninterrupted, eighth-note transition, ascending the scale for eleven measures. In m. 71 the flute smoothly takes over the eighth-note ascent climbing to the high range before descending to an alternating measured trill on a B in m. 77. Completing the trill passage in m. 83, the flute ascends a six-note chromatic scale to m. 85 for the recapitulation of the first two phrases of theme one. Despite Friedland’s warning regarding the extreme high range in which the flute is asked to play, the author feels that maintaining or regaining the tempo during these solo passages to be the real test of an ensemble’s abilities. The entire transitional section from mm. 62-85 serves as a dominant preparation for the return of the opening in the original E minor. The first two phrases are repeated as they appeared originally with the addition of a sustained cello harmony. The harmonic progression is maintained and leads through an authentic cadence in m. 99 to the transition in m. 100. Farrenc continues the eighth-note motion as the piano plays the transition material. It may be helpful to the reader of this document to identify this transition material as music that will be utilized frequently by Farrenc in the forthcoming sections (Figure 30).

Figure 30. Fourth Movement, Transition Material, First Phrase

48 The phrase is then restated in m. 108 but maintains G major throughout. There is a half cadence in m. 115 indicating the end of the phrase and the introduction of new material, reminiscent of the third phrase of the original first theme melody in m. 116. The cello plays a high, soaring line which crescendos with the piano, into m. 124. Through a half cadence in m. 123 all three instruments join forces in a staccato outline of the harmonic progression. The material at m. 124 is new but is difficult to describe as melodic. This passage is derived from previous material that boldly outlines the harmony. After a climactic declamation in m. 136, the cello continues an eighth-note run to m. 138 where the flute takes over and leads into the second theme, using an authentic cadence in m. 140. In stark contrast to the first theme, the second is soft and lyrical. The flute presents a lilting eight-measure melodic antecedent phrase while the piano maintains the flow of continuous eighth-notes underneath (Figure 31).

Figure 31. Fourth Movement, Second Theme, Antecedent Phrase

As in the first movement, Farrenc upholds standard practice by presenting the second theme in G major, the III of the original E minor. The first phrase of the second theme ends with an authentic cadence in m. 147. The second phrase melody continues in the flute while the piano changes to full block chords; the eighth-note motion is continued with a countermelody in the cello. The third phrase, beginning m. 156, of the second theme is presented again through an authentic cadence with the cello joining the flute in

49 direct harmonization of the lyric melody. The piano continues the supportive role while also maintaining the eighth-note motion. The half cadence in m. 123 breaks the pattern of authentic cadences but indicates the previous theme is being repeated, rather than moving to new material. In m. 166 the cello alone restates the lyrical third phrase melody for six measures until the flute joins in m. 172. An authentic cadence into m. 178 leads to the closing of the exposition. The cello and right hand of the piano play an aggressive eighth-note pattern, rhythmically similar to the transition material, while the left hand follows the harmonic progression in quarter-notes. The flute joins at m. 182 and all three instruments close the exposition with a loud three-chord statement in mm. 190-192. Obviously a major intersection of the movement, in these three measures the perpetual eighth-note motion rests (Figure 32).

Figure 32. Fourth Movement, Tutti Closing of Exposition

A sudden shift to E-flat major in m. 194 marks the beginning of the development. One of the interesting elements of this section is the choice of thematic materials. The development encompasses mm. 194-368 and consists of two sections separated by a grand pause. The first section, the shorter of the two, is constructed using five variants of the exposition’s transition material originally found in m. 100. Each variant is presented through an authentic cadence and tonicization. The first presentation of this material starts in m. 194 (Figure 33) and is identical to the material from mm. 108-116.

Figure 33. Fourth Movement, Development, First Variant from Transition Material

The eighth-note motion is again resumed in the piano with a sustained harmony above in the flute and cello. The E-flat major tonality moves through an authentic cadence in m. 201 tonicizing G minor in m. 202. This section is played by the piano alone. The eighth- note motion is in the left hand while the right plays the harmony. In m. 209 the tonality wanders again to B-flat major where the flute immediately assumes the eighth-note melody. The piano and cello support the melody with sustained accompaniment. As the tonality moves to D minor in m. 218 the flute drops out after passing the melody to the cello; again the piano supplies the sustained chords. The final variant is established in m. 222 in the tonal center of F major. The part writing resembles the first phrase of the development with the melody returning to the piano and the sustained harmony belonging to the cello and flute. Unlike in the previous four variants, the key of the fifth begins to wander within its first phrase; moving through A minor before settling in C major in m. 226. The C-major tonality is maintained up to the grand pause in m. 239, although the section ends with a half cadence dominant preparation. With the exception of the final half-note in m. 238, the perpetual motion is maintained throughout this section. The second and lengthier section of the development begins in m. 240 where the prepared C major has been abruptly shifted to C minor. The thematic material has also been changed as the piano plays the melody that opened the movement. The piano reignites the eighth-note motion and the cello plays a sustained harmony. The two instruments play through the opening statement, but, unlike in the original statement, maintain the eighth motion through the cadence in m. 262. Also, unlike the original 51 statement, this is a half cadence and delays the full modulation to A-flat major in m. 263 with the use of sequential cadential extension (Figure 34).

Figure 34. Fourth Movement, Descending Second Sequence

As the new key is established in m. 263, the flute takes over the melody offering material from the second theme. Rolled chords in the piano not only dictate the progression, but continue the perpetual motion as well. The tonality of B-flat minor is established through an authentic cadence in m. 279 as the cello repeats the last eight bars of the flute’s theme two melody; the piano continues the rolled chords. The second theme melody ends at m. 286 with an authentic cadence tonicizing F-sharp minor. As the easily recognizable melodies disappear in m. 287, the three instruments begin, very quietly, a long crescendo. Over the rolled chords in the piano, the flute and cello play pianissimo half-notes. This structure continues as the key modulates back to E minor in m. 295. Continuing the long crescendo, the right hand of the piano changes the lush rolled chords to a more frantic leaping eighth-note pattern in m. 303; the flute and cello continue the sustained notes. The left hand of the piano slowly descends into the low range before settling on a low B pedal, establishing a lengthy dominant preparation, in m. 317 that will continue through m. 361 establishing a retransition to the recapitulation. As the pedal tone is set in the left hand, the right hand of the piano plays a smoother arpeggiated pattern accompanied by the held notes in the flute and cello. In m. 333 the

52 piano begins a chromatic descent from D-sharp to B in the right hand while the left keeps the pedal tone. The dominant preparation of E minor is maintained through a series of half cadences in mm. 333, 349, and 361. The incomplete resolution of the third half cadence (m. 361) is emphasized with a fermata in which all instruments hold a note of the B-major chord. This is the fourth time the eighth-note motion has rested. In m. 361 the flute does not cut off with the rest of the ensemble, but plays a six- bar, chromatic cadenza into m. 368 where the recapitulation begins. As in the first movement of the composition, the first theme is in the home key of E minor. Unlike the beginning of this movement, the cello joins the flute and piano with pizzicato quarter- notes. Following the sixteen-measure statement the piano takes over the melody from the flute, but not with the material of the third phrase as established in the exposition. Here, the piano repeats the opening melody in its entirety before moving into the altered transition material in m. 399. Farrenc favors this melody for alteration and composes the sixth variant of this theme for the recapitulation. Through an authentic cadence, C major is tonicized in m. 405 which leads to another alteration of the transition material in m. 407. This time the eighth-note melody is in the flute while the piano supports with block chords. A minor is tonicized in m. 412, leading to an authentic cadence in m. 414. The third phrase of the exposition’s transition section is played by the piano in m. 415 as the key of E major is established for the remainder of this transition. After a half cadence in m. 423, the transition’s phrase two material is used for eight-bars before returning to the third phrase again in m. 431. Like the first appearance of this material in m. 124, the third phrase is extended to sixteen measures in length and links to the second theme beginning in m. 447. Theme two reappears in m. 447, almost intact from m. 140, although in the key of E major (Figure 35).

Figure 35. Fourth Movement, Recapitulation, Second Theme in E Major

This abrupt modulation is notably identical to the theme two restatement in the first movement of the piece. Comparing the two occurrences of theme two within this movement, it is evident that the four phrases that make up the theme follow identical progressions and the phrase lengths are also intact. The only differences are key and the distribution of melodic and supportive material through the three parts. The closing phrase of the second theme leads to the coda in m. 497. The eighth-note motion subsides, but only for half of a measure, at the cadence preceding the coda. Farrenc repeats this gesture four bars later, then resumes the motion immediately for the remainder of the movement. Unlike the first movement, the Finale stays in E major as this section opens with descending eighths in all three parts. Through an authentic cadence in mm. 507 and 508 the coda tonicizes A minor for the next eight bars before returning to E major in m. 520. The flute and piano play an ascending eighth- note pattern in thirds from mm. 521-529 ending in an authentic cadence that maintains the established E major. The transition material appears again in mm. 529-537 combined with descending scales and concludes with an authentic cadence. Beginning in m. 538 the cello plays an augmented version of the opening theme while the piano continues the motion with an ascending eighth-note pattern. The perpetual motion comes to a close in m. 549 when all three instruments resolve the authentic cadence. The final ten measures are an authentic cadential statement in long declamatory chords as the work closes on a loud sustained E-major chord.

54 The following (Figure 36) is a one-page diagram of the analysis of the fourth movement:

55 Overall Form: Sonata (with Coda) Exposition

First Theme transition a (1-8) b(9-16) c(17-24) c1(25-32) d(33-40) d1(41-61) [62-85] e: hc ac ac D: ac b: ac ac dominant prep.

First Theme, restatement Transition a(85-91) b(92-100) e(100-108) e1(108-116) f(116-124) g(124-140) e: hc ac G: ac hc hc ac

Second Theme Closing h(140-147) i(148-155) j(156-165) j1(166-178) k(178-192) G: ac ac hc ac ac

Development e1(194-202) e2(202-210) e3(210-218) e4(218-222) e5(222-238) [239] E-flat/g: ac B-flat:ac d:ac F:ac C:hc G.P. a1(240-247) b1(248-262) h1(263-270) i1(271-278) i2(279-286) l(287-317) c: hc A-flat:hc ac ac b-flat: ac f-sharp/e: hc

Retransition m(317-333) n(333-342) n1(342-349) m1(349-361) [362-368] hc hc hc hc dominant pedal ------

Recapitulation First Theme a(368-375) b(376-383) a(384-391) b(392-399) e: hc ac hc ac

Transition e6(399-407) e7(407-415) g1(415-423) f1(423-431) g2(431-447) C: ac a: ac E: hc hc ac

Second Theme Closing h2(447-454) i3(455-462) j3(463-472) j4(473-485) k1(485-497) E: ac ac hc ac ac

Coda o(497-508) e8(509-520) o1(521-529) e9(529-537) a1(537-549) [550-559] E: ac a/E: ac ac ac ac ac Figure 36. Analysis, Finale: presto

CHAPTER 3

CLOSING REMARKS

While this analysis may help the performer understand and interpret the work, it is not the author's intent to convey the musical experience by describing it in prose. Only through listening to, or performing this piece, may one truly understand the quality and intricacy of Farrenc's work. It is evident, considering her accomplishments, both musically and socially, that Farrenc was an extraordinary woman. The artistic prowess of her ancestors is noted not only in competence, but also in excellence without a skipping a single generation for almost two centuries. While it may be argued that her lineage was most proficient in the visual arts, music was evidently an integral part of the Dumont family tradition. Interestingly, Diane Jezic writes that Farrenc displayed an excellent aptitude for painting and was coerced into intensive studies in music.1 It would be curious to consider what kind of visual artist Farrenc may have become or how accomplished musicians her ancestors could have been. Fortunately for musicians the former will never be known. Although the remarkable achievements of her family are noteworthy, they do not speak to Farrenc’s abilities as do her position at the conservatory or the accolades offered by contemporary critics. Perhaps the most telling feature of her musical career is her position as the first woman ever to hold a full time professorship at the Paris Conservatory, arguably one of the finest musical institutions of that time. She may also be the first woman to hold this position at any major music institution for higher education, though information to substantiate this has not been researched.

1 Diane Peacock Jezic, Women Composers: The Lost Tradition Found (New York: The Feminist Press, 1994), 121.

57 Throughout music history women such as Hildegard von Bingen, Francesca Caccini, Fanny Mendelssohn, and Clara Schumann made their mark in music composition but Louise Farrenc may have done more for the professional placement of women than any that preceded her. An additional note of interest is the fact that toward the end of her career Farrenc not only requested a salary equal to that of her male counterparts, but was also granted the request. Although she faced certain restrictions pedagogically at the conservatory her value was realized monetarily. Farrenc’s abilities as a composer were recognized not only by the conservatory, which integrated her etudes as standard practice for all piano students, but by the elite professional musicians as well. Schumann and Berlioz both wrote complimentary articles about her work and only regretted that her gender would cost her professionally. The fact that two composers, so different in their approach to musical trends in the nineteenth century, would speak favorably about Farrenc’s work may be indicative of the quality in her style. Like Beethoven and Mendelssohn, Farrenc shows the ability to utilize standard Classic forms but expand the harmonic and tonal structure. For the author of this document, the most rewarding part of this project is the reintroduction of this work from the nineteenth century to the current flute repertoire. The republication of Farrenc’s trio was born from a search for solo and chamber music for flute. When one considers that the Romantic era represents a period in history that witnessed a great decrease in the number of compositions written for the flute, the project of reviving lost compositions seemed a necessity. One of the main reasons Prokofiev wrote his great flute sonata was his feeling that the flute had not been adequately represented in the nineteenth century.2 This may be attributed to the expanding size of the orchestra and the ever-increasing dynamic power of other individual instruments. Nancy Toff best describes the flute's dilemma as, "quite simply, the flute did not, by itself, have the capacity to produce the power and variety of tone that were the vehicles of Romantic musical expression.”3 The flute was, in Ms. Toff's description, an important

2 Harlow Robinson, Sergei Prokofiev: A Biography ( New York: Viking, 1987), 420.

58 member of the orchestra but had been "reduced to a chirping vehicle for virtuosic display and programmatic symbolism.”4 Music literature of good quality, especially pieces written by non-flute playing composers, was therefore, not always readily available. Farrenc's Trio in E minor for Flute, Cello and Piano, Op. 45 is a rare gem in the repertoire of flute music. Not only does it help to fill the void of Romantic flute music but also represents the quality of music composed by women in an era when their creativity was suppressed. This work will certainly stand the test of time and perhaps lead to the discovery of works of other forgotten female composers.

3 Nancy Toff, The Flute Book: a complete guide for students and performers, 2nd ed., (New York: Oxford University Press, 1996), 241.

4 Toff, 241. 59

APPENDIX A

SCORE OF TRIO IN E MINOR FOR FLUTE (VIOLIN),

CELLO AND PIANO, OP. 45

The following score to Louise Farrenc’s Trio Op. 45 represents the work as it will hopefully be published in the fourth edition. The author, in collaboration with Hildegard Publishing Company, has already released the third edition in 1998 but without the improvements included in this document. These include a cleaner notation, omission of ink splatter, correction of harmonic inconsistencies, and use of contemporary notation. When the original plates were purchased by Hildegard Publishing to create the third edition they not only had aged to the point of creating barely readable parts, but also contained errors and antiquated notation. Through this effort, a piece of chamber music that has been out of publication since the 1970s has been re-offered for public consumption and more legibly produced. The author of this document consulted musicians regarding performance styles and techniques to present an edition that is more suited to the contemporary performer. Although a few harmonic discrepancies have been altered the majority of this editing involved articulation and consistencies among the parts in phrasing and interpretive indications. The method used to determine inconsistencies within the parts was based on comparison to identical sections within Farrenc’s score. At no time was her work altered based on subjective opinion. An example of harmonic inconsistencies may be found in measure 119 of the first movement. The first image (Figure 37) is taken from a printing based on the original plates. The low F natural in the left hand of the piano part was missing its accidental in the first edition and had a rough pencil correction added to a copy of the original plates in

60 the second edition. In the image of the new edition (Figure 38) the accidental has been added and the overall image of the parts is cleaner.

Figure 37. Original Plates, m. 119 Figure 38. New Edition, m. 119

Additional corrections include the consistency of expressive markings in the score and instrumental parts. The following example from the first movement, mm. 21-24, presents missing hairpin markings in the cello part of the score (Figure 39). It is reasonable to assume that Farrenc may have wanted the cello independent of the other two parts, but examination of the extracted part produces a discrepancy. Based on a comparison of the score to the cello part the correction was made in the new edition (Figure 40).

Figure 39. Missing Expressive Markings, Original Plates, mm. 21-24

Figure 40. Consistent Expressive Markings, New Edition, mm. 21-24

Courtesy markings were also added in an attempt to create a user-friendly edition of the composition. One example is the change from bass to tenor clef in the cello part. On the original plates there are two issues that were addressed. First, the cello part and the piano score do not match in their placement of these changes. Second, the changes of clef frequently occur in the middle of a phrase rather than the beginning. In the new edition, the clef changes were placed within close proximity of their original location but at the beginning of the phrase. The rediscovery and improvements made to this work have led to an interest from Hildegard Publishing in the republication of additional works of Louise Farrenc.

62 TRIO

pour Piano Flute ou Violon et Violoncelle, Op. 45

à M. Louis Dorus Louise Farrenc (1804-1875)

Allegro deciso    Flute               f   Violoncello                 f  Allegro deciso                                Piano f                                       

6 Più moderato ed espressivo                       ritard. dolce                       dolce ritard. Più moderato ed espressivo        ritard.                       

13                  

                                                                                     © Hildegard Publishing Company, 1998 Used with permission of Theodore Presser Company 63 18                        

                

                                                                     

23                   

              

                                                                    A 28                 mf           mf                                 mf                                   

31                         f                      f                    f                            64 34  leggiero                                                                            p               

37                                              p                                              

41              

                                               f                  44                          p f                      p                               65 49 B                       

                                   cresc. f                                                     

55                     f                           f

                                                    

60                             p                                 p

             p                   

65                                         

                                                             66 70             dolce      p                                                        p                             75                                                                       dolce                            

80                                                p                                                 

85 C                          cresc.                          cresc.                              cresc.                              67 88                                                              

                                       91         f          f                 f                   

93           dim.           dim. 

   dim.                                               

96          p      p                    cresc. p                           68 D 99                               f             f                                        f                                102                                                                                                                                    107 1.                                                  

1.                                                                                                    

113 2.                  p   f             p   f 2.                                                                           69  117                                                                                                           

120                                                                                     f p                                   

124                             p f                 p f                                   f                                

127                                                                           

                                70   130                                                                      p                                                      

134                               p                       p                                                                 

138 E                                          

                           dolce                                

143                 p                                                       71 148       

                    dolce                                                                

153              dolce                p

                              p                           

158                           cresc.                cresc.                              cresc.                                163                                     p                                   fp                                    72 167                          p      cresc.                                  cresc.                                       cresc.                                     

171                              f                        f                                       f                          

175                                                                                                                             

179 F                                  

                                                                   73 182                    

                                      3                                     

185                                                                                                   

188                                          dolce espressivo     

                                            

G 193                              p  p poco ritard a tempo               dolce          poco ritard a tempo         74 200                                       

                             dolce                                    

205                    

                                                                           

210                                                                                                             H 215                  mf

            

                                             mf                    75 219              cresc.          mf                                 cresc.                                    

222                                p                            p                          

225                            p cresc.                              cresc.                        cresc.                           

229      leggiero                      f   

                      f

                          f  p                              76 233                            p        p                                           236                                                                      f                  if.,!   

239 I                           f                          f                                         

243                    f                  f

                                                                              77 248                            p                                  p       p                                  

253                                                                                                                  

258                             pp                                                 p                            

263                           p                          

                                                             78 268                  dolce                                                                                        J 273                                 

                             dolce                                                     

277                           cresc.                            cresc.                              cresc.                                  280                       f                         f                     f                            79 283              dim.              dim.  dim.                                                     

286            p             p                    cresc.                                K 289                             f           f                                         f                               292                                                                                                                           80  296                                                                

                                                                            

300                      ff               ff                                ff                                

303                               

                                                         306                        

                                                             81 309                                                 

                                                                 

312                                                    

                                                              315                                                                                                                          318                                                                                      82 Andante                        dolce         Andante      legato Andante p                                     6                        

        

                                                    

12                 

                

                                                       

18                                     

                        

                                       83 24                      cresc. pizz.                cresc.   

                          cresc.                                      

30                                     p             

                                 

36                                                               p arco. 

              p                         

42                            p                                   p                                                    84 A 49               

3                             ff sf                                             3 sf                                  ff        55                                        sf sf sf 3 sf                                                              sf sf sf sf 3                                                               60                       pp                                                 pp                                        pp                       64                                                                                         p 3                          p      85 69                         p  cresc.

                                          cresc.                                             75                                           p                              p                                          B 78     simile                                            3 3 3 3 3 3 dolce 3 3 3 3 3 3          3                            dolce                                  3 3 83 3     3                                           3 3 3 3 3 3 3 3 3 3 3 3 3          p                                                 86 88 3 3  3 3 3 3                                          3 3 3 3 3     3 3 3 3                

                                                    93  3                   dolce 3 3 3 3            3 3 3 3 3 3                3 3 3 3 3 3                             98          

              3      3                    3 3 3 3 3 3 3 3 3 3   3 3 3                                     3 3 3 3 3 3 3 3   3 3 3      3  103 3 3                   cresc.                         cresc.

3 3 3 3 3 3 3 3 3                             3  3        3   87 107                p               p                                3 3 3 3 3 3 3 3                       3   3    C 112                                                                  p                           p sostenuto                 118                                                        

                                                                           124                           f pp                     f                                               pp      f                                                       p                    88      130           

    

                 pp                      

134                  pp                  pp

                                         

89 Vivace                         p mf             pizz.  Vivace                            Scherzo p                                                  8                                      f                           arco f                                      sf                                     

16                                                                  p                             

23                              mf                 mf                                                                   90 30                                  sf sf cresc.                      sf sf                              sf sf                                  

37                        p               p                                                          

43                  sf               sf                                       rf                               49                sf              sf                                                                           91  56              cresc. f                cresc. f                                       cresc. f                            62                                                     

                                                69                                           p                 p                

77                              f                          f                             p f                                           92  1. 2. 85                                                          1. 2.                          p                               A  93 poco più sostenuto                

                                   dolce   poco più sostenuto                               dolce                                            

104                              dolce                                                                        p                                         117               dolce                     

                                                                                                                                      93        130                                   cresc.                                 cresc.                                               cresc.                                       

141                                 p                         p                                                                          

152                                                                                                                                                        165 B  1.  2.                           dolce                             

1. 2. tempo 1                                                                                                            94 177                                        p               pizz.    mf                                                                          186                             cresc. f     arco.                     f                             f                          

194                        mf                mf                                   p                                       202                             sf sf                   sf sf                               sf                                  95        209                                       cresc. p                  p                                                  

216                                                                                                         222               sf              sf sf                                       rf rf                               228              cresc.                 cresc.                                       cresc.                     96    235                             f                      f                                f                            

242                                            p                p                  

250                           f                                  f                                 f p                                      259                                                          

                            p                               97 C 267 poco più sostenuto                

                                 dolce    poco più sostenuto                                                                      

278                           dolce                                                                           p                                      289                                                                                                                          poco ritenuto    298                                 p   poco ritenuto                          poco ritenuto                                                                                        98 308                       

                                                                               

316 tempo 1                          f  tempo 1                         f  tempo 1                                   f                             

99 Presto                                                     p            Presto                       Finale p                    

9                                                            mf                         mf                     

18                mf                      

                                                                          

27                mf

                

                                                                      100 36             p                 p

                                     

                          

45                                

                                        cresc.                         A 54            

                                        f                                        63                                                 dim.                         101 72                                      

          

          

         

B 81                                                                  p            p                    

90                                                         

                                               

99                    f                 f                                     f                        102 108                            p                                       p                       

117              f                 cresc.   f 

                                f                             cresc.       126                                                                                                                            C   135                               p dolce                      

                             p                       103 144                   

                    p     

                                              153              cresc. p                    cresc. p                                        cresc. p              

161                              cresc.                                          cresc.             

169              mf                mf

                                 mf                   104 178                            f                           f   f

                                      f                                    D 187                           f                   f                                  f                           196                                                                                             

205                          f

            f                                                     105 214                                                      

                                                    

223                                                                                                       231                                                                   E 240                       p

                               p                                

106 248                          

                                                         

 256            p              sf p

               p                               

264                        

                                                         

272             

          dolce

                                                

107 F 280          pp              cresc. pp                     pp                                 

288                

                                        

295          cre          cre                     cre                             

303          scen do            scen do                                    scen do                  108 311          

                                                     f                   

320

         f          f                                                  328

                                                                          336            p          p                                                 dim.                   109 344               dim.

         dim                                                           351    p               p                                     

358                                                                 G 367                                                

                 pizz.               p                 

110 375                                                                                            f                   

384                        f

         

                                                                

392                    arco.                mf

                                                               

401                     f                f                                                         

111 410                           

                                                                     419                                p f                                       sf p                  

427                      f                         cresc. f                               f                                                H 436                                                                                                                   112 445                                  dolce              

                              p                        454                  p             p                                                             

463                                             

                                                              

471               cresc.

                  cresc.

                                    cresc.  cresc.               113 480                    f

              f                                   f                           489                                                                     f                                                                       498                           

                                                                                                       507                   p            p                                     p              114 516                          cresc. f

              cresc.  f                                 f                      

525                                                                                                                           

534                        

                                                                                       

542                      

                                                                                           115   550               ff   

               ff   

                              ff                          FINE

116

APPENDIX B

The following document is the letter granting copyright permission for the use of

Louise Farrenc’s Trio Op. 45 for Piano, Flute or Violin, and Cello from Theodore Presser

Company on behalf of Hildegard Publishing Company.

113

114

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124

BIOGRAPHICAL SKETCH

Andreas Tischhauser received his Bachelor of Music in Flute Performance from Wichita State University in Kansas where he also minored in voice performance. Mr. Tischhauser received his Master of Music and Doctor of Music degrees from Florida State University. His primary teachers are Dr. Frances Shelly from Wichita State University and Professor Charles DeLaney from Florida State University. Mr. Tischhauser served as principal flute in both Florida State and Wichita State orchestras and as second flute to Charles DeLaney in the Florida State Chamber Orchestra. Mr. Tischhauser also managed the university orchestras at Florida State and was appointed president of the ensembles during his tenure at the school. During the completion of his doctoral degree Mr. Tischhauser served as Visiting Instructor of Music at Fort Lewis College in Durango Colorado where he has taught voice, flute and various academic courses. While living in the Southwest, Mr. Tischhauser earned a Master of Music degree in Voice Performance and Pedagogy from the University of Colorado at Boulder. This experience has led to numerous choral and operatic experiences throughout this region including a summer with the Santa Fe Opera. Mr. Tischhauser has also performed with the Santa Fe Pro Musica, Santa Fe Desert Chorale, and the University of Colorado Opera Theater and Summer Theater. Maintaining his attention in the instrumental world, Mr. Tischhauser has also served as principal flute to the Santa Fe Symphony and the San Juan Symphony in Durango, Colorado. Mr. Tischhauser currently performs in both mediums with his former teacher, Dr. Frances Shelly, in the Amical chamber ensemble. While enjoying a burgeoning performance career in flute and voice, Mr. Tischhauser maintains a private studio in Durango.

120 As a result of the republished edition of Louise Farrenc’s Trio for Flute, Cello and Piano, Mr. Tischhauser has been asked to edit additional scores for the Hildegard Publishing Company.

121